Browsing Tag


Trish Discord & Devon Aviles electronically augmented alt-rock with the broodingly vindicating single, Ever So Holy

Trish Discord and Devon Aviles are both forces to be reckoned with respectively; combined, they’ve sent electrifying shockwaves through the alt-rock domain with their dark and broodingly vindicating track, Ever So Holy. The intro is a masterclass in mood setting; the massive waves of synth bass, coupled with a haunting melodic lead, create an industrially tinged atmosphere that is as dark as it is scintillating.

As the track progresses through its rhythmic cascade of unpredictable volition, it morphs seamlessly, throwing hooks left, right, and centre to pull you into the track’s magnetic core with the same force as the most infectious artists in the pop-punk domain.

The production style is a high-wire balancing act; a complete yin-yang of raw elements and polished cultivation. The huge guitars and compressed drums bring a traditional rock feel, while the electronic components narrate a new chapter in the alt-rock genre.

Vocally, Trish Discord channels the spirit of Evanescence, Nightwish, and Within Temptation, while simultaneously carving out a unique niche and guiding the listener through the tumultuous sonic landscape. In short, it’s a symphonic riot that ignited a revolution in the electronica landscape.

Ever So Holy was officially released on February 29th; stream the single on Spotify.

Review by Amelia Vandergast

DARCY – Mandem Carni: an avant-garde installation of artful electronic annihilation

With her sophomore single, Mandem Carni, the artist and enigma DARCY emerged from the shadows of her former alias and unleashed a visceral force to be reckoned with. The dark, bass-heavy oscillations resonate with a raw, physical intensity, capable of giving even the most robust speakers goosebumps.

This track is a masterful blend of genres, straddling the line between an industrial electronic horror score and an avant-garde installation of artful annihilation. It’s a sound that carries the terrorised glamour of a Dana Dentata release, yet pulses with the kinetic energy akin to Avalien. DARCY’s approach to music production is both aggressive and energetic, yet marked by an increasing fluidity and ambition that sets her apart.

Mandem Carni is an unflinching embrace of the dark and the macabre. It’s a track that doesn’t just flirt with the nightmarish; it revels in it, all while maintaining a level of artistic finesse that transcends mere shock value. The production quality is impeccable, with each beat and synth meticulously crafted to contribute to an atmosphere of controlled chaos.

For anyone with a penchant for the darker, more brooding variants of drum and bass, Mandem Carni is an augmented anthem to be experienced.

Mandem Carni disrupted the airwaves on February 18th; stream the release on Spotify.

Review by Amelia Vandergast

Embers of Silence unleashed his industrialised electroclash pop-rock lament on capitalism, Attaboi

After the prelude echoes the nostalgia of the scuzzy hooks to The Cardigan’s My Favourite Game, the industrialised electroclash of pop and rock, Attaboi, from Embers of Silence evolves into a juggernautical earworm that swaggers with as much attitude as the spikiest icons of Britpop.

The lament on contemporary capitalism is infectious from the first deliciously distorted & discordant note, from there on out, every hyper hook and slice of snarled vocal mesmerism pulls you deeper into the infectiously augmented protest track that exemplifies the multi-instrumentalist and producer’s artistic intellectualism.

It’s not every day that you encounter an artist with the ability to make cerebral art accessible and void of pretension. Clearly, the Ohio-hailing one-man machine, Samuel Austin is a rare visionary, one that would sit well on the playlists of Tears for the Dying, Atari Teenage Riot, and Machine Girl.

If the upcoming LP, A Beautiful Thing, carries an ounce of the cultivation in Attaboi, it will easily be a contender for one of the best albums of 2024.

Stream the Single Mix of Attaboi via Spotify.

Review by Amelia Vandergast

SumicSo – It’s Over: A Gothic Rock Ode to Resilience and Power

SumicSo’s latest single, ‘It’s Over’, is a compelling blend of gothic glamour and rock nostalgia, echoing the likes of Siouxsie Sioux, Blondie, Fleetwood Mac, and the Manic Street Preachers. The UK-based musician and songwriter channelled a clarion call for strength and resilience, which will resonate deeply with those who’ve faced the bitter ends of deception and departure.

The track is a masterful fusion of 80s rock aesthetics with 70s rock timbres; the vocals, rich in emotion and power, light a beacon of hope and solidarity, reaching out to listeners who find solace in her message of fighting through pain.

While the production of ‘It’s Over’ might benefit from further refinement, the raw energy and potential of SumicSo as a trailblazing artist are unmistakable. Her lyrical prowess, combined with the strident and rhythmic melodies, ensures that this track is an anthem for those battling their inner demons.

Watch the official music video for It’s Over by heading over to YouTube.

Review by Amelia Vandergast

Master Splinter – Ronin (Cross the Sea): An Alt-Rock Allegory for Resilience and Hope

We have always expected the unexpected with Master Splinter, and still, they managed to catch us off-guard with their evocatively expansive, melodically compelling latest alt-rock single, Ronin (Cross the Sea).

Even though they’ve stayed consistent in their tendency to use fantasy tales as conduits for emotional expression, beyond the histrionics in the vocal performance, the tale of the story unravels as a heart-wrenching allegory for emotional upheaval and hard-fought battles which leave you depleted and raw.

The instrumental builds and breaks decorate the grungy hit with a sense of furore that serves to amplify the lyrical messages of resilience in the face of almost certain destruction. Tune into the release and lock into an experimentally sludgy rock opera that delivers a message of hope.

In an era when optimism can all too easily feel like the outlook of the naïve, there are profound lessons to take from Ronin (Cross the Sea). But the biggest takeaway is that Master Splinter, with this newfound vulnerability, is one of the best alt-rock outfits to follow in 2024.

In Master Splinter’s own words:

“The story is about a samurai who is in a losing battle and his master is killed. When a samurai is without a master, he becomes “ronin”, which in Japanese vaguely translates to something like “lost warrior”. The land he called home is overtaken by enemies and forced to flee, he takes to the sea. He lands on an unfamiliar shore and sees that this land is also stricken with war. He does the only thing he knows how and joins in the fight against the invaders. The warrior is gravely injured and falls to the ground, accepting his fate and loses consciousness. But, when he awakens, he discovers that he’s been nursed back to health by a mysterious man who becomes his new master and grants him a magical katana that the warrior wields with newfound strength. The story ends ambiguously but is meant to express triumph.”

Ronin (Cross the Sea) will hit the airwaves and exhibit a softer side to the Portland-hailing psychedelic Senseis on March 1st. Stream the single on Spotify.

Review by Amelia Vandergast

Post-hardcore went pop in Cosmic Ninja’s latest earworm Stone Cold

Cosmic Ninja’s latest hit, Stone Cold, from the Filth EP, is a Tour De Force of infectiously ensnaring volition and a striking example of genre fusion done right. This track is a scintillatingly assaultive blend of post-hardcore’s raw energy and the catchy, rhythm-driven essence of pop.

The track is a masterclass in electronically augmented dynamic progression, seamlessly shifting from intense breakdowns to infectious hooks. Collaborating with John Mitchell, known for his work with Enter Shikari and Architects, was a stroke of genius. His expertise has helped shape Stone Cold into an earworm that’s impossible to ignore. The track is meticulously crafted, with each element – from the angst-driven raps to the soaring choruses – contributing to its overall potency.

Cosmic Ninja’s songwriting prowess is evident throughout Stone Cold, which unfolds an embodiment of the band’s disregard for genre constraints and their punk ethos. The lyrics are charged with political and social commentary, making the song not just an auditory experience but a thought-provoking protest.

The Filth EP is now available to stream in full on Spotify.

Review by Amelia Vandergast

Bag of Cats ignited a firestorm of twisted genre contortions in their dance-punk hit, Devil at My Houseparty

If you never got over the disbanding of the Eighties Matchbox B-Line Disaster, wipe your tears with the kinetic rhythms in the seminal single from the Welsh dance-punk duo, Bag of Cats.

Devil at My Houseparty, featuring Will Griff, is a mind-mashing blend of psych, garage rock and proto-punk, all pulled together by punk-pierced guitar loops and alt-electronica synthetics that augment the anthemic track to the nines.

Between the rolling rhythms, distorted blues riffs, and caustically infectious electronic elements inspired by the likes of LCD Soundsystem and Jamie T, Devil at My Houseparty is a firestorm of twisted genre contortions that will make your pulse pound and get the adrenaline flowing.

The magnetic appeal of the duo comprising Sophie Holliday and Barney Williams doesn’t end there; lyrically and vocally, Bag of Cats, couldn’t be more ensnaring. They’ve perfected the formula of playfully roguish swagger. The mischievously jocular vibe is definitively rock n roll, just not rock n roll as you’ve known it before.

In the process of giving the Welsh music scene more than it bargained for, Bag of Cats has garnered a staunch fanbase which only seems to grow with every release and livewire performance.

Devil at My Houseparty is now available to stream via Spotify.

Review by Amelia Vandergast

Etherdene – Summer Dreams: An Indietronica Ode to Seasonal Longing

Etherdene’s latest single, ‘Summer Dreams‘, is a masterstroke in indietronica, blending the magnetic allure of the Yeah Yeah Yeahs with the Smiths’ jangle-pop melodies, all while infusing a shoegaze and retro-futuristic electronica reminiscent of Tiny Ghosts.

Since her solo debut in June 2023, Etherdene has been an indomitable force in the music industry. Each release has solidified her place in the hearts of listeners and playlist curators. Her music, an affectingly arresting cocktail of empowering messages and evocative soundscapes, resonates deeply on every conceivable level.

‘Summer Dreams’, released in the heart of February, initially strikes as a paradoxical choice. However, the track’s lyrical yearning for the warmth and sticky-sweet hues of summer, set against the backdrop of the Pacific Northwest’s rainy winters, unifies through the affirmation that we’re all in it together, and now we have the ultimate soundtrack to our unified longing.

We didn’t think there was much scope for improvement from Etherdene’s previous single, You Are My World, but the complexities within Summer Dreams that reveal a new reason to fall head over heels for the single with every listen prove that Etherdene is poised to become an indietronica firebrand in 2024.

Summer Dreams was officially released on February 9th; stream the single on Spotify.

Review by Amelia Vandergast

Neil Young meets Pixies in Ryanne + The Rumination’s seminal single, Waste

Indiana’s Ryanne + The Rumination hit the airwaves running with their stylistically expansive self-titled debut LP, which explores the spectrum of human emotions within the psychological ebbs and flows.

The standout single, Wasting, exhibits the duo at their most ethereally magnetic. Ryanne’s crystalline vocal lines cut right through the Pixies-esque atmosphere manifested through the guitar-driven production that exhibits the duo’s influence of Neil Young.

Intimate and profound in equal measure, the artfully immersive single evolves from a dreamy monochromatic release of pent-up emotions to a melancholically stirring alt-pop anthem that won’t fail to pull you into its raw oscillating core. If Ryanne + The Rumination’s is the future of pop, I’m here for it.

Ryanne clearly found her alchemic match in the multi-instrumentalist, Seth Wyatt. The way the single culminates in a post-punk decorated disquiet crescendo after a lament on the frustrations of stagnation is a stunningly affecting way to make an ever-lasting impression.

Waste was officially released on February 9th and is now available to stream with the band’s eponymous LP via Spotify.

Review by Amelia Vandergast

Beast Killer lived up to their ferocious moniker in their feat of punk rock fervour, Comet

Beast Killer, the dynamic duo from Cleveland, Ohio, has once again proven their mettle in the alt-rock arena with their latest single from the album Dystopian Now/Dystopian Me. The recently released single, Comet, is a high-octane ride that seamlessly blends the rawness of punk with the edginess of hardcore, reminiscent of The Hives but with a distinctly Beast Killer twist.

Chris Wright (Vocals/Guitar) and Kris Monroe (Drums) have been collaborating for over a decade, and their chemistry is palpable in this release. The single bursts into life with an energy that is both frenetic and meticulously controlled, showcasing their instrumental precision. The hooks are bouncy yet laden with emotional depth, compelling listeners to engage with every beat.

Beast Killer lives up to their name in Comet by delivering a track that is ferocious in its execution. They pay homage to the early epochs of punk rock while simultaneously steering the genre towards an exciting future. The track transports listeners through a spectrum of emotions, from the ominous terror of space to a serene acceptance, mirroring the thematic journey of their album. The duo’s live performances are known to be explosive and commanding, and this energy is captured perfectly in this recording.

Comet is now available to stream on Spotify.

Review by Amelia Vandergast